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| Dziga
Vertov |
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| Director
/ Screenwriter / Editor |
| 1896 - 1954 |
| Born January 2,
Bialystok, Poland |
| Key
Production Country: USSR |
| Key Genres:
Avant-garde/Experimental,
Documentary,
Propaganda Film |
| Key
Collaborators: Mikhail Kaufman (Cinematographer),
Ivan Belyakov (Cinematographer) |
| Highly Recommended: The Man with a Movie Camera
(1929) |
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Worth a Look: The
Sixth Part of the World (1926),
Enthusiasm (1931) |
| Links:
[
IMDB ] [ All-Movie
Guide ] [ Senses
of Cinema: Great Directors ] [
Film Reference ]
[ Lengthy
Article on The Man with
the Movie Camera ] [ A
Dziga Vertov Website ] [ Images
Feature on Dziga Vertov and Busby Berkeley ] [
Rouge
Article ] [
Senses of Cinema Article (2006)
[
Other Zine Article (2005) ] |
| Books: [
Kino-Eye:
The Writings of Dziga Vertov ] [ The
Man with the Movie Camera (Kinofile) ] |
| DVD's:
[ Amazon
] |
| 1,000
Greatest Films: The Man
with a Movie Camera (1929) |
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"This
[Vertov's] exhilaratingly imaginative, witty blend of actuality
and artifice, later abandoned in keeping with Stalin's
preference for sober 'social realism', anticipated both
cinéma verité and the essay films of
Godard and
Marker. He was pioneer of
documentary and modernism, yet his lively inventiveness remains
enthralling to this day." -
Geoff
Andrew (The Director's Vision, 1999) |
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"There are Russian
films that we will never see, and nobody made (or supervised) as
many of them as Dziga Vertov. For that reason alone, we should
be cautious about defining him. Nevertheless, he seems not only
the director most engaged with the Constructivist enthusiasm to
make a new art for a newly conscious people, but also the most
appealing. The Man with a Movie Camera is more touching,
more historically informative and comic than any Russian film of
the period...Like
Godard,
Vertov had an instinctive love of cinema and a relentless need
to intellectualize and politicize his enthusiasm." -
David Thomson (The New Biographical Dictionary of Film, 2002) |
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"Vertov
remains best known for one of his most experimental films,
Chelovek s kinoapparatom (Man with a Movie Camera).
Featuring [his cameraman] Mikhail Kaufman in action, and
intended to demonstrate the role of the cameraman in showing
"Soviet reality," it also became an anthology of film devices
and tricks. Eisenstein,
usually a Vertov supporter, criticized it for "unmotivated
camera mischief" and even "formalism." -
Erik Barnouw (International Dictionary of Films and Filmmakers,
1991) |
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"Vertov fathered the kino (film) eye documentary, a technique
similar to today's cinéma verité. The Filmmaker was a
powerful cinema poet and propagandist." -
William R. Meyer (The Film Buff's Catalog, 1978) |
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